staged no fewer than 26 separate exhibitions. Three more are slated for May.

And although several of these have been stellar events -- the Gallery's first international show, imported from the Museum for African Art in New York was a triumph -- the crowning glory of the Gallery's life so far has undoubtedly been last month's visit to the Gallery by the Queen.

It was a happy accident, says Gallery director Mrs. Laura Gorham, that they were able to stage a major exhibition for the Royal visit by a Bermudian who has won the highest acclaim in Britain.

It was Arts Council president Dr. Charles Zuill, who, on a visit to England last year, made a point of visiting a major exhibition by fellow Bermudian Bill Ming, who had become the first recipient of the Liverpool John Moores University Fellowship in Sculpture. This is funded by The Henry Moore Foundation for any artist whose work is "rooted within a non-Eurocentric perspective, highlighting ways in which cultural crossovers can be a catalyst for innovation and development.'' It was Dr. Zuill's immediate recognition of a singular talent that led to the Gallery's invitation to Mr. Ming.

Now, the sculptor has `returned the compliment' with the announcement that he is donating one of his major works, `Reachin' Back To Go Forward,' to the permanent collection of the Gallery.

As it turned out, says Mrs. Gorham, Bill Ming's show, which vividly reflects his African roots, provided the perfect follow-on for the three-month-long African show that had just finished.

"There are many aspects and symbols in Bill's work that we certainly wouldn't have understood so well, had it not been for the real educational experience of the African show,'' she says.

She comments that Mr. Ming's exhibition, appropriately titled (on his insistence) as `Comin' Home,' became an emotionally charged event for all those who became involved in its staging. Here, Mrs. Gorham bluntly ventures, was a man who might well have ended up in Casemates, had he not left Bermuda to discover his great gifts overseas: "He was the first to admit that his life up until then had not been a spectacular success! He had hated school, found the whole idea of sitting in a crowded classroom claustrophobic and admitted he was very rebellious and angry about some aspects of Bermudian society.'' The young man who made the break with his homeland by signing on to work on the Queen of Bermuda comments in his Artist's Statement accompanying the Liverpool exhibition, that "It is ironic that I had to come to England to find the African artefacts and culture, tucked away in British museums, which began my first understanding and positive sense of my cultural heritage.'' His work to this day constantly features the vessel, which he sees as both a shelter, a prison (as in the slave trade) and as the means of transportation between his native and adopted islands.

What a homecoming it was for the sculptor, who prefers to carve in wood, just as his ancestors did.

"Bill is one of the loveliest people I have ever met,'' says Mrs. Gorham.

"He's a high-strung artist, of course, but modest, and totally committed to his life's work. Teachers, who are a hard lot to impress, came to his lecture at the Bermuda College and said he was an inspiration to them.'' He was determined, she says, that he was going to make the Queen laugh when he met her: "I'm not sure what he did say, but I think you can see from the pictures that this was one of the happiest, most carefree moments of her tour.

She made a point of asking to meet him and said she was very impressed with the piece of sculpture he had decided to give to the gallery. She seemed to understand the importance of one of our artists doing so well in her country, which, of course, is one of the great art centres of the world.'' Mrs. Gorham says the Queen, who owns one of the greatest art collections in the world, seemed especially impressed with the Watlington Collection and asked to meet members of the Watlington family.

"When the name of Horace Buttery came up -- he was the art dealer and restorer who advised Hereward Watlington on his collection -- she smiled and said, `Ah yes, Mr. Buttery'.'' He had been well known to the Queen as the restorer of some of her pictures, mostly famously her Vermeer, which she later loaned for a special exhibition mounted in memory of Horace Buttery.

The Ming show forms part of five separate exhibitions currently on show at the Gallery. Explains Mrs. Gorham: "The African show took up the entire gallery so when that came down we found ourselves with a lot of space that had to be filled up again. We re-installed the Watlington Room, and at the same time, mounted a new exhibition of 20th century art loaned from private and corporate collections on the Island.'' In addition, in the Ondaatje Wing, Robin Trimingham curated `The Little Green Door,' commemorating the lives of the Tucker sisters.

In the Lower Mezzanine section, Lady Waddington and Lady Swan jointly chose Highlights of the `Masterworks Bermudiana Collection,' and in the Upper Gallery, Carolee Trott and E. Michael Jones staged a retrospective on Charles Lloyd Tucker under the direction of Masterworks.

As if this kaleidoscope of ever-changing exhibits was not enough, the National Gallery has also hosted a multitude of cultural events which, in Mrs. Gorham's words, "all further our aim of becoming an arts centre that will involve all the arts.'' To that end, there have been plays, poetry readings, lectures and concerts staged in the attractive surroundings of the main gallery.

Some of these, such as last month's `A Celebration of Song,' directed by Marjorie Pettit, have been major fund-raisers. The latest in Maurine Cooper's monthly slide lectures is planned for May. The subject this time around is `Celebrating the Ordinary.' At the end of this month, there will be another chance to see Gavin Wilson and Nigel Kermode in `The Slippered Pantaloon.' Directed by Elsbeth Gibson, this evening of comedy-filled dramatics has been brought back by popular demand.

Two new exhibitions will be opening on May 6. Nicholas Lusher is curating what promises to be a fascinating show on `The Fine Art of Bermuda Maps.' The piece de resistance is sure to be an antique map, dated 1511 and clearly showing Bermuda. This has been loaned for the occasion by the New York Public Library.

The other exhibit is `Visions from Tranquillity,' a selection of paintings from John Kaufmann, who designed the interior of the National Gallery. Then on May 10, Masterworks ties in its latest show to this year's Heritage Month theme with artists Sheilagh Head and Diana Amos curating Ladies in Painting, dedicated to women artists whose work has been inspired by Bermuda.

A major event occurs on May 13 when the world-famous fine art auctioneers, Christie's, will mount an Appraisal Day in the Gallery. With proceeds going to the St. John Ambulance appeal, residents will be able to bring their family treasures and heirlooms in for expert, informal verbal appraisals.

Says St. John benefit committee member, Mrs. Jane West, "As far as I know, it's the first time two charities have worked together in this way. The National Gallery, which of course, is itself a charity, could have used the Appraisal Day as a fund- raiser for itself. But instead, they have offered the Gallery to benefit St. John. In addition to that, they have closed the doors for the day, and supplied all the volunteers, `a cast of thousands' to cope with what we are sure will be a very big event. We are very grateful to the National Gallery in providing us with such a wonderful setting.''